New directions opening up I could almost call myself an art historian maybe…(trainee level:-)
New directions opening up I could almost call myself an art historian maybe…(trainee level:-)
Back to where I started..literally…..first thought best thought?
I no longer consider myself to be exclusively in the fine art ‘drawing research’ area.
I am now seeking full or part-funding or a receptive institution to help develop this project.
And here my first mention of ANAMNESIA in 2010:
Apples and Snakes have posted the recordings of myself reading the Edwin Smith/RIBA commission.
In many ways this more Transmedia than poetry.
I deliberately use archive images, redundant technology and pseudo-referencing.
Inspired by Edwin Smith’s photograph, ‘Camden Town Bedroom,’ Belcher’s poem uses vivid imagery to explore the theme of light. Visit the RIBA website for more info: bit.ly/13HN1tf
Read more about this App here : Microsoft Apps
It has been a career-defining week so until the dust truly settles I not making any comments about my withdrawal from the Creative Writing M.A. other than these reflections on what I think is happening to fiction these days in general.
It was only after withdrawal that I started to consider what it was that I had wanted from the course rather than what the course offered me. There was no problem with what delivered it simply wasn’t what I wanted..they sold bananas I actually wanted peaches.
The problem is that the field of ‘Extended Fiction’ which I am primarily interested in is at present almost homeless within academia in general. The NTU course is not the only one focusing on the principles of traditional fiction writing, screen-writing and poetry in categories that have been fixed since the notion of Creative Writing was accepted into the academy. Indeed one could even go back further to the battles to get English Literature accepted into the academy.
This constant seeking for ‘validation’ alongside the sciences means that, like fine art, a lot of conservatism has crept in alongside the wish to be taken seriously. This conservatism is especially prevalent now with REF status measurement . Creative courses move towards ‘acceptability’ through research worthiness but in my opinion it is stifling creative content and not just in writing.
The area of apps and fiction (see above) which mixing illustration and stories, online and offline graphic novels, voice-only novels ( a recent development..basically a recording of writer reading but no text sold) photo-embedded literature, visual-poetry, comics etc etc has hardly rippled the surface of ‘creative writing’ that country-wide has been modeled on a Stateside Iowa Workshop model first introduced in the 1960’s. A model that now 50 years old. We wouldn’t drive a car built in 1960 now so why drive a model of education that similarly dated?
There are various reasons for this. A lot of the embedded wisdom in that model is very good. Good writing is good writing and basic principles have not changed. What has changed is everything around that model. The stand-alone paper novel may not be as Will Self so clearly put it ‘as dead as the Dodo’ but it is it certainly one platform amongst many now. Self is one author trying to breathe life into its form in an arena where what we call literature or ‘the book’ may be fragmenting into a variety of platforms. The internet has changed the delivery, consumption and influence of the literature we read as comprehensively as the first paperbacks sold at W.H.Smiths (which trains then distributed around the country like a steel internet) changed our notions of literacy, communication and most importantly fueled universal suffrage and democracy.
To paraphrase Yeats
Things fall apart; the centre cannot hold……
But the centre here is the reader. The reader is now the centre of endless opportunities be it social media, hypertext, embedded photos. Everything has become an endless ‘narrative’ which we making from our own lives via social media. To disrupt this ‘FLOW’ of trans-mediale imagery and text we have to purposefully disengage via Kindle or paper (the original kindle is a electronic metaphor for paper anyway) and place ourselves outside the ‘FLOW’.
If one turns one’s attention away from standard literature field to what I tentatively calling ‘Extended Fictions’ a whole new landscape emerges. This is a landscape that the millennial born digital natives are swimming in effortlessly. It is both image and text like graphic novels but maybe even more fluid and permeable once online. The graphic novel has its ‘paper’ retro adherents who regard online as a threat to its unique paper object-ness. They see its object-hood as the defining characteristic of paper-bound writing and in many ways this ‘thing-ness’ corresponds with contemporary crisis in the fine arts over authenticity and object value.
I spent much of last year investigating Charles Dickens and his illustrators as a key moment in the development of the ‘serialised’ novel. Indeed one could say he invented the modern magazine serialisation and therefore modern cinema and TV.
It is no coincidence that the first efforts to create working free-flowing multi-directional Apps from literature have used him as a model. The image above is a illustrated short story by Dickens from Microsoft. The image below is from the ‘Dark London’ app developed by the Museum of London and again drawing on both location tracking and multiple entry points to the narrative..all is FLOW..not uni-directional narration.
Unless modern creative-writing courses take on board THE FLOW we will have a version of writing presented as all writing just as a version of fine art currently dominates fine art. This is my opinion. It is not an opinion many in my institution would agree with that is for sure.
For me to not go with THE FLOW is to cease to go forward it as simple as that.
The future is here now and it looks very much like the past to me …we do not want to miss the train do we? Would Dickens be working on paper or the web?
I have posted photographs below from my father’s shed and my mother’s garden (under the post ‘Garden Films’) both of which became neglected as their illness progressed. Indeed they are a tacit reminder of how much their illnesses imobilised them both. In the process of clearing my family home for future sale I also had to confront another loss. The last time I had a viable painting space before gaining a new studio in 2011 in Nottingham (not counting a brief attempt to start again in 2005/6) was a garage at my parents last utilised in 1993. In it I left stored all my paintings from a ten year period in London (1979-89) and over the years at least half of the works had to be destroyed as eaten by mice (rolled canvases) and the rest on board stayed in garage. As the garage became dilapidated following my father’s death they too were affected. Finally in August this year I broke up the remaining large hardboard oils (some 8 feet by 4 feet)as a final act of closure….maybe on painting too. Here a sequence of photos showing their storage and final end. The white bycycle is my mother’s bike that I toured the downs on when completing a sequence of nearly 70 charcoal representational drawings on in 1991-2.
Artist and film-maker Patrick Keiller, will create a new installation for the Tate Britain Commission next year, it has been announced.
Keiller, who has not revealed exactly what the artwork will be, will develop the piece for the neoclassical Duveen galleries.
He said he was “delighted” to be asked. His work will be unveiled on 27 March.
Every year Tate Britain commissions an artist to “develop a new work in response to the Tate Collection”.
Artists who have previously taken on the Duveens Commission include Eva Rothschild, who filled the galleries with a huge black sculpture.
Over the past 30 years Keiller has made several documentary films, including The Dilapidated Dwelling and Robinson In Space.
“As someone most usually involved with images and the linearity of narrative, I’m delighted by the invitation to devise an exhibit for a sculpture gallery,” he said.
Tate Britain director Penelope Curtis said: “Patrick Keiller’s sustained interest in understanding the British landscape, and how it is represented, strikes a perfect chord with the Tate Collection.
“We are delighted that he has accepted our invitation to work with us in compiling a new installation which brings the old and the new together, and shows how similar concerns run through time.”
Patrick Keiller bibliography
Keiller, Patrick:”Imaging” in Matthew Beaumont and Gregory Dart (eds): Restless Cities (London: Verso, 2010), pp.139-154.
Keiller, Patrick: “Landscape and Cinematography”, Cultural Geographies, Vol. 16, No. 3, 2009, pp.409-414; http://cgj.sagepub.com/cgi/pdf_extract/16/3/409
Keiller, Patrick: “Popular Science” in Anthony Kiendl (ed.): Informal Architectures: Space and Contemporary Culture (London: Black Dog, 2008), pp. 32-37.
Keiller, Patrick: “Urban Space and Early Film” in Andrew Webber and Emma Wilson (eds): Cities in Transition: The Moving Image and the Modern Metropolis (London, New York: Wallflower, 2008), pp. 29-39.
Unwin, Richard: review of The City of the Future, BFI Southbank Gallery, in Frieze 114, April 2008; http://www.frieze.com/issue/review/patrick_keiller
Dillon, Brian: review of The City of the Future, BFI Southbank Gallery, London in Modern Painters, March 2008, pp.84-85.
Keiller, Patrick: “Phantom Rides: The Railway and Early Film” in Matthew Beaumont, Michael Freeman (eds): The Railway and Modernity: Time, Space, and the Machine Ensemble (Oxford etc: Peter Lang, 2008), pp.69-84.
Hanks, Robert: review of The City of the Future in The Independent Extra, 22 November 2007, pp.14-15; http://www.independent.co.uk/arts-entertainment/art/reviews/a-cinematic-show-puts-a-new-twist-on-historical-perception-765004.html
Keiller, Patrick: feature article in Time Out, 21 November 2007, p.67; http://www.timeout.com/film/features/show-feature/3841/patrick-keiller-interview.html
Keiller, Patrick:”Phantom Rides”, The Guardian Review, 10 November 2007, p.14; http://www.guardian.co.uk/books/2007/nov/10/2
Hardingham, Samantha and Rattenbury, Kester: Supercrit #1: Cedric Price Potteries Thinkbelt (Abingdon: Routledge 2007), pp.110-111.
Walker, Ian: So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography (Manchester: Manchester University Press, 2007), pp.160-186.
Keiller, Patrick: “Londres, Bombay” in Vertigo Vol. 3 No. 6 Summer 2007, pp. 38-39, 42-23.
Keiller, Patrick: “Film as Spatial Critique” in Mark Dorrian, Murray Fraser, Jonathan Hill, Jane Rendell (eds): Critical Architecture (London, New York: Routledge, 2007), pp.115-123.
Keiller, Patrick: ‘The City of the Future’ in Alan Burton, Laraine Porter (eds): Picture Perfect: Landscape, Place and Travel in British Cinema before 1930 (Exeter: Exeter University Press, 2007), pp.104-112, abridged at http://www.bftv.ac.uk/newslet/0304p3.htm
Anderson, Jason: “London Mapping: Patrick Keiller’s Peripatetic Hybrids”, interview with Patrick Keiller, Cinema Scope 26, 2006.
Keiller, Patrick:”Coal Hopper, Nine Elms Lane, ” in Iain Sinclair (ed): London: City of Disappearances (London: Hamish Hamilton, 2006), pp.292-295.
Burke, Andrew: “Nation, Landscape and Nostalgia in Patrick Keiller’s Robinson in Space”, Historical Materialism 14:1, 2006, pp.3-29; http://www.ingentaconnect.com/content/brill/hm/2006/00000014/00000001
Connarty, Jane; Lanyon, Josephine and others: Ghosting: The Role of the Archive within Contemporary Artistsâ€™ Film and Video (Bristol: Picture This, 2006), pp.106-109.
Mazierska, Ewa & Rascaroli, Laura: Crossing New Europe: Postmodern Travel and the European Road Movie (London: Wallflower, 2006), pp.57-78.
Dave, Paul: Visions of England: Class and Culture in Contemporary Cinema (Oxford, New York: Berg, 2006), pp.119-140.
Making History: Art and Documentary in Britain from 1929 to Now (Liverpool: Tate Liverpool, 2006), pp.38, 46-47.
Pile, Steve: Real Cities: Modernity, Space and the Phantasmagorias of City Life (London: Sage, 2005), pp.4-12.
Keiller, Patrick: “Motion Pictures”, The Guardian Review, 21 May 2005, pp.18-19; http://www.guardian.co.uk/film/2005/may/21/2
House, John & Keiller, Patrick: “River of Dreams”, Tate Etc. 3 (Spring 2005), pp.100-107; http://www.tate.org.uk/tateetc/issue3/riverofdreams.htm
Demorgon, Laurence: “Robinson, pÃ©lerin du monde global”, “Architecture d’aujourdhui“350, January-February 2005, pp.24-25.
Keiller, Patrick: “Tram Rides and Other Virtual Landscapes” in Simon Popple, Patrick Russell, Vanessa Toulmin (eds): The Lost World of Mitchell & Kenyon: Edwardian Britain on Film, (London: BFI, 2004), pp.191-200.
Mayer, Robert: “Not Adaptation but Drifting : Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature”, Eighteenth-Century Fiction 16:4, July 2004, pp.803-827; http://digitalcommons.mcmaster.ca/cgi/viewcontent.cgi?article=1721&context=ecf
Misselwitz, Philipp: “Reichtmer im Zerfall”, interview with Patrick Keiller in Philipp Oswalt (ed): Schrumpfende StÃ¤dte, (Berlin: Hatje Cantz Verlag, 2004), pp.554-559; English edition 2006, pp.554-559.
Keiller, Patrick: ‘The City of the Future’ in City 7:3, November 2003, pp.376-386.
Dillon, Brian: ‘London Calling’, interview with Patrick Keiller in Frieze 78, October 2003, pp.78-81 http://www.frieze.com/issue/article/london_calling/
O’Pray, Michael: Avant-Garde Film: Forms, Themes and Passions (London, New York: Wallflower, 2003), pp.107-118.
Keiller, Patrick: ‘London in the Early 1990s’ in Andrew Gibson and Joe Kerr (eds): London from Punk to Blair (London: Reaktion, 2003), pp.353-361 and AA Files 49: London: Postcolonial City (London: Architectural Association, 2003), pp.20-24.
Keiller, Patrick: ‘London-Rochester-London’ in Cedric Price and others: Re:CP (Basel, Boston, Berlin: BirkhÃ¤user, 2003), pp.168-185.
O’Neill, Eithne: London and Robinson in Space review in Positif 509/510 (July/August 2003), p.138.
Keiller, Patrick: ‘The Poetic Experience of Townscape and Landscape’ and ‘Atmosphere, Palimpsest and Other Interpretations of Landscape’ reprinted in Nina Danino & Michael MaziÃ¨re (eds): The Undercut Reader (London, New York: Wallflower, 2003), pp.75-83, 204-208.
Keiller, Patrick: ‘Sexual Ambiguity and Automotive Engineering’ in Peter Wollen and Joe Kerr (eds): Autopia (London: Reaktion, 2002), pp.342-353.
Evans, Gareth: The Dilapidated Dwelling review in Time Out (8-15 May 2002); http://www.timeout.com/film/reviews/65464/the-dilapidated-dwelling.html
Keiller, Patrick: ‘Architectural Cinematography’ in Kester Rattenbury (ed): This Is Not Architecture (London, New York: Routledge, 2002), pp.37-44.
Martin-Jones, David: interview with Patrick Keiller, Journal of Popular British Cinema, 5-2002, pp.123-132.
Keiller, Patrick: The Robinson Institute, eBook in series Species of Spaces for diffusion.org.uk, 2002; http://diffusion.org.uk/?p=62
Keiller, Patrick: ‘Port Statistics’ in Iain Borden, Joe Kerr, Jane Rendell, Alicia Pivaro (eds): The Unknown City (Cambridge MA, London: MIT, 2001), pp.442-458.
Eisner, Ken: The Dilapidated Dwelling review in Variety, December 18-31, 2000; http://www.variety.com/review/VE1117796949.html?categoryid=31&cs=1
Bruzzi, Stella: New Documentary: a critical introduction (London: Routledge, 2000), pp.99-123.
Dave, Paul: ‘Representations of Capitalism, History and Nation in the Work of Patrick Keiller’, in Justine Ashby and Andrew Higson (eds): British Cinema, Past and Present (London: Routledge, 2000), pp.339-351.
Smith, Claire: ‘New Art Cinema in the 90s’, in Robert Murphy (ed): British Cinema in the ’90s (London: BFI, 2000), pp.145-155.
Keiller, Patrick: ‘Popular Science’, in Landscape (London: British Council, 2000), pp.60-67.
Kerr, Joe: interview with Patrick Keiller in Bob Fear (ed): Architecture + Film II, Architectural Design, 70:1, January 2000, pp.82-85.
Keiller, Patrick: Robinson in Space and a Conversation with Patrick Wright (London: Reaktion Books, 1999).
Richard Wentworth’s Thinking Aloud (London: National Touring Exhibitions, 1998), p.33.
Keiller, Patrick: ‘The Dilapidated Dwelling’ in Sarah Wigglesworth and Jeremy Till (eds): The Everyday and Architecture, Architectural Design 68:7-8, 1998, pp.22-27.
Dave, Paul: ‘The Bourgeois Paradigm and Heritage Cinema’, New Left Review 224, July-August 1997, pp.111-126; http://www.newleftreview.org/?view=1914
Barwell, Claire: interview with Patrick Keiller, Pix 2, 1997, pp.158-165.
Sinclair, Iain: Lights Out For the Territory (London: Granta, 1997), pp.306-317.
Sorensen, Colin: interview with Patrick Keiller, London on Film (London: Museum of London, 1996), pp.160-161.
Daniels, Stephen: “Paris Envy: Patrick Keiller’s London“, History Workshop Journal, 40:1, 1995, pp.220-222; http://hwj.oxfordjournals.org/cgi/pdf_extract/40/1/220
Keiller, Patrick: ‘The Tourist Poem’, Umeni XLIII:1-2, UDU AVCR, Prague, 1995, pp.45-47.
Price, Anna: interview with Patrick Keiller, Artifice 1, 1994, pp.26-37.
Keiller, Patrick: ‘The Visible Surface’, Sight and Sound, November 1994, p.35.
Keiller, Patrick: 1994 Berlin Film Festival programme text for London, reprinted as ‘Filming London Obliquely’, Regenerating Cities 7, 1994, pp.54-55.
Sinclair, Iain: ‘Necropolis of Fretful Ghosts’, Sight and Sound, June 1994, pp.12-15.
The British Art Show 1990 (London: South Bank Centre, 1990), pp.76-77, 134.
Keiller, Patrick: ‘Modern Architecture in Czechoslovakia 1919-1939’, published as ‘Czech Perspective’, Building Design, 13 March 1987, pp.22-25.
O’Pray, Michael: review of Norwood, Monthly Film Bulletin, October 1984, pp.322-323.
Keiller, Patrick: ‘Atmosphere, Palimpsest and Other Interpretations of Landscape’, in Undercut 7-8, 1983, pp.125-129.
Keiller, Patrick: ‘The Poetic Experience of Townscape and Landscape’, in Undercut 3-4, 1982, pp.42-48.
Does the viewing and deployment of traditional art practices within augmented reality locative multimedia applications alter the relationship between creator, viewer and traditional notions of an artistic sense of place?
TRACK is a multimedia/fine arts project which examines the wider implications of disrupting conventional fine art notions of landscape by using pervasive media on location in a particular area loaded with art historical and poetical signifiers. Through art practice and research in local history archives it will examine how the disruption of traditional modes of ‘confined’ or ‘static’ viewing may subvert or divert traditional fine art practice and historical explication. This will be contrasted with traditional literary conventions of a sense of place.
Drawing on contemporary new media and locative arts practice and theory especially Coyne’s ‘Tuning of Place’ (Coyne, order 2010) and Kieller’s ‘City of The Future’ (Kieller BFI, viagra 2008) this paper investigates notions of ‘english rural idyll’ ‘mythopoeic’ and ‘place-myth’ (Shields, 1991) in the creation of a specific Berkshire artist’s retreat (The Blewbury Artists, 1880-1999). It will examine how this may be re-conceived or re-investigated through a pervasive media ‘lens’. This is a work in progress and conclusions will be gathered from extensive field-testing of devices and further local history archival investigation.
The presentation will deliver findings so far and make tentative conclusions.
Keywords: Place-myth, mythopoeic, artist’s colonies, hand-held devices, pervasive media, place, landscape painting, drawing, land-writing, deep mapping.